Bye Bye, Baby (Nathan Heller Series)
Marilyn Monroe, the ultimate goddess of the silver screen, is at the peak of her popularity, internationally famous, universally admired by women and desired by men. But she’s also famously insecure and temperamental and is being pilloried in the press for delaying the production of Something’s Got to Give. When the head of Twentieth Century Fox threatens to cancel her contract, Marilyn hires “PI to the stars” Nathan Heller to tap her phones and record conversations that might prove to be important if there’s a lawsuit. Less than three months later, Monroe is dead from an overdose and, officially, a suicide. But Heller isn’t buying it. He knows that in the weeks before, the star was anything but suicidal. He knows, too, about her affair with JFK, about the secret connections between the Kennedys and the Mob...and about Bobby Kennedy’s blood feud with Jimmy Hoffa. In short, Heller knows too much to accept this bum rap on a beautiful, gifted woman loved by the whole world...including Nathan Heller. So he investigates, though his efforts might enrage some very famous, very powerful, very dangerous people. But they can’t keep Heller from finding out the astounding truth behind Marilyn Monroe’s untimely demise....
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About the Author:
Max Allan Collins is the author of the Shamus Award-winning Nathan Heller historical thrillers; his other books include the New York Times bestseller Saving Private Ryan and the bestselling CSI series. His comics writing ranges from the graphic novel Road to Perdition, source of the Tom Hanks film, to long runs as scripter of the “Dick Tracy” comic strip and his own innovative “Ms. Tree.” Collins is also a screenwriter and a leading Indie filmmaker. He lives in Iowa with his wife, writer Barbara Collins, and their son, Nathan.
Excerpt. © Reprinted by permission. All rights reserved.:
CHAPTER 1
The naked actress was laughing, splashing, her flesh incandescent against the shimmer of blue, now on her back, then bottoms up, her happy sounds echoing, as if she were the only woman in the world—and wasn’t she?
She was, after all, Marilyn Monroe, and this was Fox’s Soundstage 14, where she was shooting the film Something’s Got to Give, under the supervision of legendary Hollywood director George Cukor.
Nude scenes were common overseas—Bardot had become famous flashing her fanny in And God Created Woman—but a major star like Monroe shedding for the CinemaScope camera? Just not done, even if she did have those notorious calendar shots in her past.
This was the closed set of all closed sets. A small army of security guards had been summoned by producer Henry Weinstein to cover the five entrances to the soundstage, after word of the nude scene wildfired across the lot. This was the toughest ticket in town, unless you had an in.
I had an in. Last night I’d heard from Marilyn’s personal publicist, Pat Newcomb (calling at the star’s request), that tomorrow would be the “day of days” on the Something’s Got to Give set.
“Marilyn says you wanted to visit,” Pat said, in her pleasantly professional way, “sometime during filming. And this is it.”
“Mind my asking what’s special about tomorrow?”
“She has a swimming scene and, knowing Marilyn, might just slip out of her suit....”
I reminded Miss Newcomb that I needed two passes, and was assured they’d be waiting at the studio gate.
So how did I rate? Big-shot agent? Top Hollywood columnist? Producer sizing up MM for his next picture, maybe?
No. I was just a private detective, or anyway I used to be. Since my agency grew to three locations (LA, Manhattan, and the original Chicago office), I’d become mostly a figurehead, bouncing between them, handling publicity and sucking up to big-money clients. I couldn’t remember when I last knocked on a strange door or parked outside some motel with a camera, much less carried a gun.
But Nathan Heller, president of the A-1 Detective Agency, me, had indeed done a number of private eye jobs for Miss Monroe, starting with bodyguard duty in Chicago on her Gentlemen Prefer Blondes junket, and more recently tracking down a guy named C. Stanley Gifford, who she thought was her father, in the sense that he was the likeliest candidate for having knocked up Mom, who currently resided in the latest of many nuthouses.
Old C. Stanley missed the boat, or maybe his gravy train, when my client used the info I gathered to call her potential pop and say, “This is Norma Jeane—I’m Gladys Baker’s daughter.” Apparently thinking this was a touch, the idiot—unaware that Norma Jeane Baker had transformed herself, through no little effort, into Marilyn Monroe—hung up. On her second try, she got C. Stanley’s wife, who told the caller to contact her husband’s lawyer if she “had a complaint.”
Anyway, we were friendly, Marilyn and I, and for a while had been very friendly. In the interim I had transformed myself, through no little effort, into “the private eye to the stars.” This was a nice trick since I lived in Chicago, though the A-1’s ongoing security job with the Beverly Hills Hotel meant I had a bungalow whenever and for however long I might need one.
I also had an ex-wife out here, a former actress now married to a once successful producer, neither of whom I gave a shit about. I gave much more than a shit about my teenage son, Sam, who was actually Nathan Samuel Heller, Jr., only we had called him “Sam” when he was little, to avoid having two Nates around. Before long, my wife was happy not to have any Nate around.
So Sam it was, now a happy fourteen-year-old. Why happy? Wouldn’t you be, if you were a fourteen-year-old male whose father had got him onto the set of Marilyn Monroe’s nude swimming scene?
When you are divorced and your wife has custody of your only child, and the other “dad” is a film producer (once successful or otherwise), you have to work to stay on your kid’s good side. Sam was not impressed with celebrities, generally, having seen plenty, but this was different. I was fairly certain his first sexual experience had been with the signed-to-him nude Monroe calendar I’d given him on his thirteenth birthday (his mother still didn’t know about that).
This was his fifteenth-birthday present, even though this was May and the real date wasn’t till September. Some gifts you grab when they present themselves.
I’d kept the nature of what we’d be witnessing to myself, just promising Sam a “treat,” and he put up with that. We cut each other plenty of slack, since we often had half a continent between us, and anyway, in my mid-fifties, I was pretty old for a teen’s dad.
Sam looked a lot like me, identical except for his mother’s brown hair and not my reddish variety, and was already within two inches of my six feet. He was slender and so was I—I’d lost my paunch in an effort to regain my youth.
So I looked goddamn good in my lightweight gray glen plaid Clipper Craft suit with lighter gray shirt (Van Heusen tab collar) and thin black silk tie. Sam was in a tan striped Catalina pullover and brown beltless Jaymar slacks. We were a sporty pair.
Keep in mind that I was already in solid with the kid for getting him out of school for the day. This was a Wednesday, and he had something like a week and a half left before summer vacation. So I was cool, for a dad.
He did complain that I didn’t have a convertible, which in California was a criminal offense. My wheels, technically part of the A-1’s fleet, were merely a white 1960 Jaguar 3.8, leather seats, walnut interior, disk brakes, automatic transmission.
“Convertibles blow my business papers around,” I said at the wheel, tooling around the Fox lot. “And muss my hair.”
“Get it cut,” he said, rubbing his hand over the bristle of his crew cut.
“I don’t like the smell of butch wax.”
“Come on, Dad. Grow up.”
I didn’t share with Sam my opinion of crew cuts, which was that they were for servicemen, bodybuilders, and homosexuals, not necessarily mutually exclusive groups. Kids his age didn’t need having their sexuality undermined. In fact, my mission today was just the opposite.
Of course, in trying to impress my kid—whose “other” father was a producer (did I mention the fat prick used to be successful?)—I should have picked a lot other than Fox’s. The grand old studio was scrambling to stay afloat. Clouds of dust crowded the blue out of the sky over bulldozers making way for apartment buildings and office towers. The out-of-control Liz Taylor picture Cleopatra, currently filming in Rome, had required the selling off of such fabled backlot locations as Tyrone Power’s Zorro hacienda, Betty Grable’s Down Argentine Way ranch, and Lana Turner’s Peyton Place town square.
Marilyn’s new picture, which Hedda Hopper and Louella Parsons called “troubled,” was in fact the only going project on the lot.
“Jeez,” Sam said, elbow out the rolled-down window. “It’s a lousy ghost town.”
The streets of this soundstage city had once been hopping with cowboys and Indians, pirates and dancing girls. Even the trees and lawns were brown and dying—palms and ferns, too. Had they cut off the water? Or had the water company cut off Fox?
As per Pat Newcomb’s instructions, I drove directly to Marilyn’s recently constructed bungalow, which had the look of a small prefab suburban house. I left Sam in the Jag and went up to the door, where a security guard was on watch; I showed my special pass, and he knocked for me.
I was greeted by Pat Newcomb—slim in a yellow blouse and tan slacks, thirty or so, her light brown hair cut chin-length. We knew each other only slightly. She was attractive, but not too attractive—that wouldn’t do for the woman assigned by the Arthur Jacobs PR agency to be Marilyn’s right hand.
The interior was mostly one big bustling room, as buzzing as the lot was otherwise dead. A battalion of technicians was at work on creating the fabled Marilyn Monroe “look.” Each seemed to operate off caffeine, as one hand would bear a coffee cup, the other whatever tool of the trade was required: comb, brush, makeup jar.
Wearing only a flesh-colored bikini, the object of their artistry reclined on a slant board like the bride of Frankenstein waiting to be awakened. She was more slender than I’d ever seen her, but her prominent rib cage made her handful breasts jut nicely, and her narrow waist and flaring hips suggested a voluptuousness that wasn’t really earned.
I shouldered my way in. “Afraid I’m gonna have to take you in for public nudity.”
Marilyn beamed at me but didn’t turn her head—her makeup man of many years, Whitey Snyder, a pleasant sharp-featured guy, was using a watercolor brush to highlight her cheekbones.
“Are you going to make me laugh, Nate?” she asked, with only a hint of her trademark halting screen delivery. “Because if you are, I am going to have to throw you out on your you-know-what.”
An almost naked broad using a euphemism like “you-know-what” was pretty funny.
“I wouldn’t want to ruin your face,” I said.
“Takes more and more work to make it a face,” she said, rueful but good-humored. Her mouth was on, but not as full as before, if just as lushly red. Her whole look had been adjusted to make the switch from the fifties t...
The naked actress was laughing, splashing, her flesh incandescent against the shimmer of blue, now on her back, then bottoms up, her happy sounds echoing, as if she were the only woman in the world—and wasn’t she?
She was, after all, Marilyn Monroe, and this was Fox’s Soundstage 14, where she was shooting the film Something’s Got to Give, under the supervision of legendary Hollywood director George Cukor.
Nude scenes were common overseas—Bardot had become famous flashing her fanny in And God Created Woman—but a major star like Monroe shedding for the CinemaScope camera? Just not done, even if she did have those notorious calendar shots in her past.
This was the closed set of all closed sets. A small army of security guards had been summoned by producer Henry Weinstein to cover the five entrances to the soundstage, after word of the nude scene wildfired across the lot. This was the toughest ticket in town, unless you had an in.
I had an in. Last night I’d heard from Marilyn’s personal publicist, Pat Newcomb (calling at the star’s request), that tomorrow would be the “day of days” on the Something’s Got to Give set.
“Marilyn says you wanted to visit,” Pat said, in her pleasantly professional way, “sometime during filming. And this is it.”
“Mind my asking what’s special about tomorrow?”
“She has a swimming scene and, knowing Marilyn, might just slip out of her suit....”
I reminded Miss Newcomb that I needed two passes, and was assured they’d be waiting at the studio gate.
So how did I rate? Big-shot agent? Top Hollywood columnist? Producer sizing up MM for his next picture, maybe?
No. I was just a private detective, or anyway I used to be. Since my agency grew to three locations (LA, Manhattan, and the original Chicago office), I’d become mostly a figurehead, bouncing between them, handling publicity and sucking up to big-money clients. I couldn’t remember when I last knocked on a strange door or parked outside some motel with a camera, much less carried a gun.
But Nathan Heller, president of the A-1 Detective Agency, me, had indeed done a number of private eye jobs for Miss Monroe, starting with bodyguard duty in Chicago on her Gentlemen Prefer Blondes junket, and more recently tracking down a guy named C. Stanley Gifford, who she thought was her father, in the sense that he was the likeliest candidate for having knocked up Mom, who currently resided in the latest of many nuthouses.
Old C. Stanley missed the boat, or maybe his gravy train, when my client used the info I gathered to call her potential pop and say, “This is Norma Jeane—I’m Gladys Baker’s daughter.” Apparently thinking this was a touch, the idiot—unaware that Norma Jeane Baker had transformed herself, through no little effort, into Marilyn Monroe—hung up. On her second try, she got C. Stanley’s wife, who told the caller to contact her husband’s lawyer if she “had a complaint.”
Anyway, we were friendly, Marilyn and I, and for a while had been very friendly. In the interim I had transformed myself, through no little effort, into “the private eye to the stars.” This was a nice trick since I lived in Chicago, though the A-1’s ongoing security job with the Beverly Hills Hotel meant I had a bungalow whenever and for however long I might need one.
I also had an ex-wife out here, a former actress now married to a once successful producer, neither of whom I gave a shit about. I gave much more than a shit about my teenage son, Sam, who was actually Nathan Samuel Heller, Jr., only we had called him “Sam” when he was little, to avoid having two Nates around. Before long, my wife was happy not to have any Nate around.
So Sam it was, now a happy fourteen-year-old. Why happy? Wouldn’t you be, if you were a fourteen-year-old male whose father had got him onto the set of Marilyn Monroe’s nude swimming scene?
When you are divorced and your wife has custody of your only child, and the other “dad” is a film producer (once successful or otherwise), you have to work to stay on your kid’s good side. Sam was not impressed with celebrities, generally, having seen plenty, but this was different. I was fairly certain his first sexual experience had been with the signed-to-him nude Monroe calendar I’d given him on his thirteenth birthday (his mother still didn’t know about that).
This was his fifteenth-birthday present, even though this was May and the real date wasn’t till September. Some gifts you grab when they present themselves.
I’d kept the nature of what we’d be witnessing to myself, just promising Sam a “treat,” and he put up with that. We cut each other plenty of slack, since we often had half a continent between us, and anyway, in my mid-fifties, I was pretty old for a teen’s dad.
Sam looked a lot like me, identical except for his mother’s brown hair and not my reddish variety, and was already within two inches of my six feet. He was slender and so was I—I’d lost my paunch in an effort to regain my youth.
So I looked goddamn good in my lightweight gray glen plaid Clipper Craft suit with lighter gray shirt (Van Heusen tab collar) and thin black silk tie. Sam was in a tan striped Catalina pullover and brown beltless Jaymar slacks. We were a sporty pair.
Keep in mind that I was already in solid with the kid for getting him out of school for the day. This was a Wednesday, and he had something like a week and a half left before summer vacation. So I was cool, for a dad.
He did complain that I didn’t have a convertible, which in California was a criminal offense. My wheels, technically part of the A-1’s fleet, were merely a white 1960 Jaguar 3.8, leather seats, walnut interior, disk brakes, automatic transmission.
“Convertibles blow my business papers around,” I said at the wheel, tooling around the Fox lot. “And muss my hair.”
“Get it cut,” he said, rubbing his hand over the bristle of his crew cut.
“I don’t like the smell of butch wax.”
“Come on, Dad. Grow up.”
I didn’t share with Sam my opinion of crew cuts, which was that they were for servicemen, bodybuilders, and homosexuals, not necessarily mutually exclusive groups. Kids his age didn’t need having their sexuality undermined. In fact, my mission today was just the opposite.
Of course, in trying to impress my kid—whose “other” father was a producer (did I mention the fat prick used to be successful?)—I should have picked a lot other than Fox’s. The grand old studio was scrambling to stay afloat. Clouds of dust crowded the blue out of the sky over bulldozers making way for apartment buildings and office towers. The out-of-control Liz Taylor picture Cleopatra, currently filming in Rome, had required the selling off of such fabled backlot locations as Tyrone Power’s Zorro hacienda, Betty Grable’s Down Argentine Way ranch, and Lana Turner’s Peyton Place town square.
Marilyn’s new picture, which Hedda Hopper and Louella Parsons called “troubled,” was in fact the only going project on the lot.
“Jeez,” Sam said, elbow out the rolled-down window. “It’s a lousy ghost town.”
The streets of this soundstage city had once been hopping with cowboys and Indians, pirates and dancing girls. Even the trees and lawns were brown and dying—palms and ferns, too. Had they cut off the water? Or had the water company cut off Fox?
As per Pat Newcomb’s instructions, I drove directly to Marilyn’s recently constructed bungalow, which had the look of a small prefab suburban house. I left Sam in the Jag and went up to the door, where a security guard was on watch; I showed my special pass, and he knocked for me.
I was greeted by Pat Newcomb—slim in a yellow blouse and tan slacks, thirty or so, her light brown hair cut chin-length. We knew each other only slightly. She was attractive, but not too attractive—that wouldn’t do for the woman assigned by the Arthur Jacobs PR agency to be Marilyn’s right hand.
The interior was mostly one big bustling room, as buzzing as the lot was otherwise dead. A battalion of technicians was at work on creating the fabled Marilyn Monroe “look.” Each seemed to operate off caffeine, as one hand would bear a coffee cup, the other whatever tool of the trade was required: comb, brush, makeup jar.
Wearing only a flesh-colored bikini, the object of their artistry reclined on a slant board like the bride of Frankenstein waiting to be awakened. She was more slender than I’d ever seen her, but her prominent rib cage made her handful breasts jut nicely, and her narrow waist and flaring hips suggested a voluptuousness that wasn’t really earned.
I shouldered my way in. “Afraid I’m gonna have to take you in for public nudity.”
Marilyn beamed at me but didn’t turn her head—her makeup man of many years, Whitey Snyder, a pleasant sharp-featured guy, was using a watercolor brush to highlight her cheekbones.
“Are you going to make me laugh, Nate?” she asked, with only a hint of her trademark halting screen delivery. “Because if you are, I am going to have to throw you out on your you-know-what.”
An almost naked broad using a euphemism like “you-know-what” was pretty funny.
“I wouldn’t want to ruin your face,” I said.
“Takes more and more work to make it a face,” she said, rueful but good-humored. Her mouth was on, but not as full as before, if just as lushly red. Her whole look had been adjusted to make the switch from the fifties t...
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- PublisherBrilliance Audio
- Publication date2011
- ISBN 10 1455820873
- ISBN 13 9781455820870
- BindingMP3 CD
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Bye Bye, Baby (Nathan Heller Series)
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brilliance Audio, UNITED STATES
(2011)
ISBN 10: 1455820873
ISBN 13: 9781455820870
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